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Fans of trained actors filling Broadway houses with the richness of their unamplified voices not to mention those who believe electric lights are overrated have reason to rejoice. Shakespeare's Globe, the British theatre company that in 2014 arrived on Broadway with their productions of Twelfth Night and Richard III that replicated Elizabethan theatre technological, is back in town with a new play that is also witnessed solely by candlelight and graced with actors who project.

That’s not to say that the streaming service isn’t taking a hit: Netflix scrapped plans to release the Spacey starrer “Gore,” a Gore Vidal biopic that had already finished shooting. And it may have to start over on Season 6 of “House of Cards,” with Robin Wright now as star, even though that show had already been shooting.

Consistently ahead of his time, political satirist and “Veep” creator Armando Iannucci — who forecast a female President that was not to be — has been developing “The Death of Stalin” since long before the current swell of anti-Russian sentiment hit American shores. While it’s unclear whether the country’s recent election-meddling shenanigans will make this defiantly anti-commercial comedy any more appealing to viewers (it seems a stretch), Iannucci certainly deserves credit for even attempting to tackle a movie whose very existence sounds like a joke: If only the end result were as funny as the idea that anyone would undertake a film about the turmoil surrounding the Soviet despot’s demise.

Though sporadically brilliant, this too-often uneven send-up of Russian politics attempts to maintain the rapid-fire, semi-improvisational style of Iannucci’s earlier work — most notably his revolutionary 2009 feature “In the Loop,” still the most delightfully madcap comedy of the last decade — while situating such madness within an

Hello and welcome back to our weekly roundup of what’s happening in the world of stage, screen, and telly. The accidental theme this week seems to be ch-ch-ch-changes as we reflect on the news of a new Doctor Who, artistic director, and the slow introduction of leading women in superhero films. Stage Just in case you missed it...it was announced last week that the actress Michelle Terry will be Shakespeare’s Globe’s artistic director starting in April of 2018. She takes over from the outgoing artistic director, Emma Rice, who—after being booted out unceremoniously—is off to set up a new theatre company called Wise Children. Terry is no stranger to The Globe. The Olivier Award-winner appeared on the stage in the 2015 “As You Like It”, “A Midsummer Night’s Dream” back in 2013, and “Love’s Labour’s Lost” in 2007. She directed short films of “Richard III

In today’s roundup, act in the classics this season and tour the U.K. in “Oedipus” and “Antigone” with Beyond the Horizon Theatre Company! There are also roles available in a crossover period drama, a collaborative musical, and a hyper-realistic drama. “Oedipus” And “Antigone” Following its critically-acclaimed 2017 tour of “Richard III,” Beyond the Horizon Theatre Company is seeking actors for its upcoming touring productions of Sophocles’ “Oedipus” and “Antigone.” Male and female talent aged 18 and older are needed for all roles in the productions. Performances run in Spring 2018. Equity minimum pay will be provided. Apply here! “The Chairman” “The Chairman,” a feature film from the creators of “Ask the Cheat,” is looking to cast local actors for the crossover period drama set in the Middle Ages that juxtaposes two parallel and interconnecting stories. A male actor aged 29–39 is needed to play the lead role of Tim, a sedan chair

See related The Handmaid’s Tale episode 7 review: The Other Side The Handmaid’s Tale episode 6 review: A Woman’s Place The Handmaid’s Tale episode 5 review: Faithful

You may not recognise actor Steve Zahn in War For The Planet Of The Apes - clad as he is in a photo-real layer of digital paint - but his performance isn't one you'll forget in a hurry. He plays Bad Ape, a timid little character who, with his wide eyes and gentle voice, provides a glimmer of warmth and humour in a stark and often harsh movie.

Zahn's enjoyed a varied and fascinating career that stretches back to the early 90s, with

I prefer watching movies on the big screen first, as big a screen as I can get. That said, I don’t always get to see them first in the movie theater. Any number of films that have become my faves I saw first on the small screen. Sometimes there’s a good reason for this; sometimes there’s no particular reason.

42 was one of those films.

It starred Chadwick Boseman as Jackie Robinson who was the black baseball player who first integrated Major League Baseball with the Brooklyn Dodgers in 1947. (You may know Boseman better as the Black Panther in McU films.) It also stars Harrison Ford as Branch Rickey, the owner of the Brooklyn Dodgers who hired Robinson. (Ford you know from… well, you know Harrison Ford.) It was written and directed by Brian Helgeland, who also wrote and directed A Knight’s Tale.

You never heard of the Great Glasgow Ice Cream Wars? They weren’t exactly Armageddon, and the gentle director Bill Forsyth makes a radio personality’s involvement with two competing ice cream companies more of a plunge into amiable drollery. If you like Gregory’s Girl and Local Hero you’ll understand the odd, unhurried attitude of this oddball show from 1984.

Quick, name some great filmmakers before the 1990s that hail from Scotland. Actually, there are plenty, it’s just that most made their careers and reputations in London, and some later in Hollywood. The home-grown talent Bill Forsyth

Fledgling UK distribution outfit Trafalgar Releasing is eyeing growth in the gaming and international distribution markets.

Little has been publicly known about the structure and growth plan of the new player until now but the company is officially launching today after theatre impresarios Sir Howard Panter and Rosemary Squire OBE acquired Lyn Goleby’s Picturehouse distribution assets in a multi-million-pound deal earlier this year.

Former Picturehouse MD Goleby had previously bought out Picturehouse’s distribution assets from Cineworld, taking a number of key staff in the process.

Callinan has written the script based on his one-man show about a country football coach who hatches an unorthodox plan to rebuild the local football team by recruiting recently-settled asylum seekers.

Mulvany will play the mother of Neil, an inquisitive, mischievous nine-year-old who is mourning the death of his father.

Howard will portray the cantankerous former boss of the long-closed local steelworks who resents the presence of the asylum seekers.

Callinan is Troy Carrington, a former professional football player who returns to his country town after an abrupt end to his sporting career and is persuaded to coach the hapless local footy team, the Roosters.

These 14 actors have been treading the boards for most of their lives, defining the way we see (and perform) Shakespeare in the 21st Century. Have you been lucky enough to take in one of their performances? Get inspired with these Shakespearean living legends. Mark RylanceShakespeare lovers cheered when Rylance took home the Oscar for best supporting actor last month, though his role in “Bridge of Spies” marked a departure from his usual fare. The great Shakespearean scholar is best known as the original artistic director of Shakespeare’s Globe in London, and for playfully undertaking lead roles in all-male, historically authentic productions including “Richard III” and “Twelfth Night” (the latter of which Rylance won one of his three Tony Awards for the role of Olivia). Sir Ian McKellenLong before he was Gandalf in “The Lord of the Rings,” McKellen made his name as one of the greatest Shakespearean actors of all time.

Some quick reviews this week. Well, not quite reviews, as I’m not going to get much into plot synopses, but as always I will express some definitely personal opinions. (You know me.) There will be S*P*O*I*L*E*R*S inferred, so caveat emptor!

“The Lie of the Land” (Episode 8, Doctor Who, Series 10): The final episode of a three-episode arc – the first two being “Extremis” and “The Pyramid at the End of the World” – in which alien “monks” have taken over the world through the consent of Bill Potts, the Doctor’s newest companion. She did this in order to have the monks cure the Doctor’s blindness – which occurred in Episode 5, “Oxygen.”

I wasn’t sure where the show was going with this, and to tell you the truth, I wasn’t much engaged by our hero’s disability; I found it more annoying than anything else,

“Trump has stolen all of our ideas for season 6,” Wright said Thursday during Variety and Kering’s Women in Motion talk at the Cannes Film Festival.

In the hit Netflix series, Wright plays Claire Underwood, the icy wife of President Frank Underwood. The two are the ultimate power couple, as ruthless as they are brilliant, and not above using their public positions for personal gain. It sounds very reminiscent to a certain Oval Office occupant. Despite the challenge of keeping “House of Cards” relevant in the current political climate, Wright said the producers know how the series is going to end, but she’s not giving any clues.

“I feel like I’m back in ‘Richard III,'” Vanessa Redgrave notes solemnly at one point in her impassioned refugee-crisis documentary “Sea Sorrow.” Diagnosing Shakespearean levels of villainy and hubris in many of today’s political leaders — with a particular swipe at Britain’s Conservative government — she continues: “Those appalling historical figures are reemerging today.” It’s a dramatic analogy in all senses, though that is to be expected from a great classical actress making her debut as a documentarian. Sincere, sometimes impressionistic and formally naive, Redgrave’s 72-minute cri de coeur feigns neither tough investigative nous nor lofty aesthetic artistry as it commendably implores politicians and citizens to open their hearts, minds and borders to those affected by war in Syria, Afghanistan and elsewhere. Shot on rudimentary digital, it’s more extended PSA than cinema, but one senses the filmmaker herself knows her message outranks her method. As such,

Powers Boothe with his daughter Parisse (both acted in Deadwood) at a 2006 Emmy partyThe Emmy winning character actor Powers Boothe, best known for screen villains on TV (Deadwood, Nashville) and in movies (Sin City, Tombstone) died yesterday morning in his sleep from natural causes. After Shakespearean work on stage after college, his screen career began with "bad Shakespeare" as part of the Richard III play within the Oscar nominated comedy The Goodbye Girl (1977) in which he mostly lays like a corpse on a table while Dreyfus overacts the hunchback around him. The on camera career stretched for nearly another 40 years ending with the recurring baddie role as one of Hydra's top leaders "Gideon Malick" on the third season of Marvel's Agents Of S.H.I.E.L.D. (2015/2016).

The native Texan was 68 years old and is survived by his wife of 48 years (they married in college before his acting career began) and their two children.

The BBC2 broadcast of Mike Bartlett’s play is a reminder that even for republicans, the Queen’s death will loom large

King Charles III, Mike Bartlett’s play set in a future shortly after the Queen’s death, aired on the BBC this week. Its trim new television version was directed by Rupert Goold and starred, in what turned out to be his masterful swansong, the late Tim Pigott-Smith, who died suddenly between filming and broadcast. The drama, the stage premiere of which was at the Almeida in London before runs in the West End and on Broadway, is about a constitutional crisis precipitated by the new king’s refusal to sign a bill into law. As the country descends into riots and unrest, a subplot also emerges about a romance between Prince Harry and an ordinary London student (their idyll rudely interrupted by press intrusion). And the Duchess

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